短视频社交媒体的兴起，推动公共传播体系及其话语构成不断调适，对政府实现政治宣传与建构文化领导权带来冲击。我国主流媒体，包括人民日报、央视等，纷纷涉足这些视频平台，并积极调整话语策略，特别强调“感动”元素的运用以及正能量的宣导，逐步构成了数字媒体时代中国共产党社会治理的手段之一。在结合软性宣传、情感治理、感动等政治传播与传播心理研究视角的基础上，本研究专注于短视频这一最新的新媒体实践形式。通过对人民日报与央视这两家主流媒体在抖音短视频平台与Bilibili（B站）两个视频平台上的2272条感动类短视频进行内容分析，结合运用深度访谈研究方法，与17位中央主流媒体短视频相关从业者以及32名受众进行访谈，本文旨在揭示政治逻辑与媒介逻辑对于主流媒体感动类短视频的生产传播带来的影响，探讨感动类短视频承载何种政治意义以及受众如何进行回应的问题。

在第一章进行概念界定与文献梳理的基础之上，本文的第二、三章尝试通过量化技术，在发布语境、人物主体以及主题等方面进行内容分析，以揭示感动类短视频在内容表达上的关键特征。这一发现表明，在短视频时代，我国感动类短视频的生产与传播呈现出常态化的特征。具体而言，在视角上更加微观化，脱离宏大叙事，聚焦于展现平凡个体的感动事迹。在探索感动类短视频如何引导情感及引导不同细分情感类型的问题领域中，本章通过内容分析，并结合我国的政治文化语境，全面审视和理解“感动”的内涵。感动/人情感在表达上呈现出复杂性与层次性，包括“哭”这种外化的生理性质的情感，以及“暖”、“感动”、“加油”、“心疼”、“感恩”、“致敬”、“悼念”、“自豪”、“激动”等九种类型。相关性分析揭示了这些细分情感类型的相互关联，共同构建了感动类短视频的情感表达。感动类短视频中的人物主体类别对感动细分的情感类型具有良好的预测能力。这反映出我国主流媒体在处理感动/人这一复杂情感状态时的侧重性调适。通过选择不同职业类型和人物主体，媒体能有针对性地塑造和表达情感。

本文的四五章通过运用深度访谈法，探索感动类短视频生产的逻辑以及意义等问题。首先，感动类短视频在我国受到了政治逻辑的影响。意识形态把关与国家领导人的理念决定了感动类短视频的存在。感动类短视频背负为党说话的政治任务，主流媒体通过感动类内容实现与受众的情感互动，旨在提高媒介公信力，帮助政府赢取民心。我国的政治文化中体现出对于感动的重视。从纸媒时代开始，感动报道一直是我国传媒的传统之一，为短视频中的内容创作提供了启发，表明感动类短视频在我国主流媒体中的制作并非偶然，而是受到历史传统和文化背景的影响。总体而言，通过以上发现，本文阐述了“感动”如何作为一种政治化的情感进入我国新型主流媒体机构，帮助我国政府实现特定的政治目标。

媒介逻辑在感动类短视频的内容呈现中得以体现，尤其在主题选择方面，数据流量成为主导标准，帮助主流媒体构建社会情感需求的想象。其次，短视频的音乐选择、视听语言、镜头运用等方面影响了感动类短视频的表达方式：表达更为短促，突出高潮与故事张力，借助背景音乐烘托氛围，注重细节表达以刻画真实性与贴近性。本文对比考察了展现主流文化平台特征的抖音与具备亚文化属性的B站如何塑造了不同的感动类短视频生产与传播思路。抖音扮演着日常输出的角色，体现出常态化治理专长，整体呈现出“致敬、心疼”的情感文化氛围，目标受众广泛，涵盖了从青少年到老年等各个年龄段的群体。相对而言，B站的受众更年轻化，他们追求高品质和创意。因此，B站在宣传和策划方面扮演着更为重要的角色，帮助主流媒体进行有目标、系统性的情感引导，特别在热点语境中发挥突出作用。B站更为慎重地运用音乐与文本语言等来引导情感，整体强调“加油与祝福”的情感文化氛围。这表明不同平台文化对于感动类短视频的生产传播方式产生了显著影响。除此以外，主流媒体新闻从业者的安全感、自我感动和成就感这三种心理因素在短视频创作的过程中发挥了重要作用，实现了宏观政治逻辑与媒介逻辑通过从业者微观个体的表达，为感动类短视频注入了丰富的情感元素。

最后，本文从受众角度出发，深入剖析了受众对于感动类短视频的反馈，首先是较为喜爱与支持的主流反馈；其次是中立与理解的一定比例；最后是较为排斥与反对的较为小众的态度。并总结了主流媒体与受众之间可能存在的三种情感体制关系：互相契合、合理性共存以及彼此冲突。第一种关系的启示在于，主流媒体通过感动的情感传播方式不仅赢得了受众的共鸣，同时也获得了他们的自发认可。受众通过以社会集体性身份合理化感动类短视频的存在，作为主体之一促进了感动类短视频的生产与传播。第二种关系呈现出感动类短视频在感动受众方面的有限性。尽管受众从情感上表现无感，但由于感动的积极属性以及背后传递的社会主流价值观对社会的积极影响，受众对于这类内容表示出理解，并能够在共同理解的基础上共存。最后一种关系体现出强烈的冲突性，其一，政治宣传和官方身份作为双刃剑，可能对受众的真实感知产生反面影响，难以建立对于主流媒体感动受众意图的接受态度。其二，主流媒体在建立赞誉感恩、致敬与心疼的道德情感时与受众自我情感体制发生冲突。在受众的自我情感体制中，可能引发难过式感动，甚至产生心灵上的愧疚，从而激发对社会或体制的怀疑。

综合而言，通过对感动的细分情感构成、预测因素以及生产传播逻辑的探究，本研究揭示了感动类短视频在政治、文化和媒介等多个方面被构建为“情感治理”的可能性。在政府与媒体的共同努力下，讲述感动故事成为凝聚国家认同感和集体意识的一种重要途径，政府与主流媒体有意识地运用感动来实现这一目标。这些发现为我们理解感动如何被政府作为一种治理资源用于文化领导权的重塑与凝聚民心提供了重要启示。

The rise of short video social media has led to continuous adaptations in the public communication system and its discursive structure, posing challenges to the government's efforts in political propaganda and cultural leadership construction. Mainstream media in China, including People's Daily and CCTV, have actively engaged in these video platforms, adjusting their discourse strategies by emphasizing the use of "moving" elements and advocating positive energy, gradually forming one of the means of social governance of the Communist Party of China in the digital media era. Based on the perspectives of soft propaganda, emotional governance, and the study of political communication and communication psychology, this study focuses on the latest new media practice of short videos. By conducting content analysis of 2,272 moving short videos from People's Daily and CCTV on two video platforms, Douyin and Bilibili, and using in-depth interview research methods with 17 central mainstream media short video practitioners and 32 audiences, this paper aims to reveal the impact of political logic and media logic on the production and dissemination of moving short videos by mainstream media, and explore the significance of moving short videos and how audiences respond to them.

Building upon the conceptual definitions and literature review in the first chapter, the second and third chapters of this paper employ quantitative techniques to conduct content analysis on moving short videos in terms of publishing context, protagonist, and theme. The aim is to uncover the key features of moving short videos in content expression. The findings indicate that in the era of short videos, the production and dissemination of moving short videos in China exhibit normalized characteristics. Specifically, there is a shift towards a more micro-level perspective, departing from grand narratives and focusing on showcasing the touching stories of ordinary individuals. In exploring how moving short videos guide emotions and different emotional subtypes, this chapter conducts content analysis while considering the political and cultural context in China, providing a comprehensive examination and understanding of the connotation of "feeling moved". The emotional expression of "being moved" manifests complexity and hierarchy, encompassing ten types, including the externalized physiological emotion of "crying" and internal emotions such as "warmth," "being moved," "cheering," "compassion," "gratitude," "tribute," "mourning," "pride," and "excitement." Correlation analysis reveals the interconnections among these subcategories, collectively constructing the emotional expression of moving short videos. The category of protagonists in moving short videos demonstrates a strong predictive ability for subcategories of emotional types related to being moved. This reflects the focused adaptation of mainstream media in China when dealing with the complex emotional state of "being moved." By selecting different occupational types and main characters, media can purposefully shape and express emotions.

In chapters four and five of this paper, an exploration of the logic and significance of the production of moving short videos is undertaken using in-depth interview methods. Firstly, the production of moving short videos in China is influenced by political logic. The presence of moving short videos is determined by the ideological screening and the principles of national leaders. These videos bear the political task of speaking for the party, and mainstream media employs moving content to engage with the audience, aiming to enhance media credibility and assist the government in winning public support. The emphasis on being moved is evident in China's political culture. Beginning from the era of print media, reports focusing on moving stories have been a tradition in Chinese media, providing inspiration for content creation in short videos. This indicates that the production of moving short videos in mainstream media in China is not incidental but is influenced by historical traditions and cultural backgrounds. In summary, based on these findings, this paper elucidates how "being moved" serves as a politicized emotion entering China's new mainstream media institutions, assisting the government in achieving specific political objectives.

Political logic plays a formative role in the production of moving short videos, analogous to a cultivation process. Political logic is akin to determining the species of the tree, while media logic influences factors such as the shape and color of the leaves. Specifically, in terms of theme selection, data traffic becomes the dominant criterion, assisting mainstream media in constructing the imagination of societal emotional needs. Additionally, aspects such as the choice of music, audio-visual language, and camera usage impact the expression of moving short videos: the expression becomes more concise, emphasizing climaxes and narrative tension, utilizing background music to enhance atmosphere, and focusing on detailed expressions to portray authenticity and closeness. Finally, this paper thoroughly explores how the differences in the attributes of platforms like Douyin and Bilibili shape distinct emotional governance approaches. Finally, this paper thoroughly demonstrates the differences between the mainstream cultural platform characteristics exhibited by Douyin and the subcultural attributes possessed by Bilibili, and how these differences shape different strategies for the production and dissemination of emotional short videos. Douyin plays a role in daily emotional output in China, and the target audience is diverse, covering various age groups from teenagers to the elderly, reflecting its expertise in normalized governance, overall presenting a cultural atmosphere of "tribute" and "compassion". In comparison, Bilibili's audience is younger and seeks high quality and creativity. Therefore, Bilibili plays a more significant role in publicity and planning, assisting mainstream media in targeted and systematic emotional guidance, especially playing a prominent role in hot-topic contexts. Bilibili more cautiously employs music and textual language to guide emotions, emphasizing an emotional culture atmosphere of "cheering" and "blessings." This indicates that different platform attributes significantly influence the methods of emotional governance.

In addition, the psychological factors of mainstream media news practitioners, namely their sense of security, self-motivation, and sense of achievement, play a crucial role in the process of short video creation. These psychological factors bridge the macro-level political logic and media logic through the micro-level expressions of practitioners, injecting rich emotional elements into "moving short videos."

Finally, this paper, from the audience's perspective, delves into the audience's reactions to moving short videos, including being moved, indifferent, and rejecting. It summarizes three possible emotional regime relationships between mainstream media and the audience. Firstly, there is the mainstream response of liking and supporting to a significant extent. Secondly, there is a certain proportion of neutrality and understanding. Lastly, there is the relatively niche attitude of rejection and opposition. The first type of relationship reveals that mainstream media not only resonates with the audience through emotionally stirring communication but also gains their spontaneous approval. The audience rationalizes the existence of moving short videos as part of their social collective identity, becoming a crucial participant in propelling the emotional governance process. The second type of relationship illustrates the limitations of moving short videos in moving the audience. Despite the audience showing emotional indifference, due to the positive attributes of being moved and the positive impact of conveying mainstream social values, the audience understands and can coexist on the basis of mutual understanding. The last type of relationship reflects a strong conflict. Firstly, political propaganda and official identity, as double-edged swords, may negatively impact the audience's genuine perception and make it difficult to establish an accepting attitude towards the mainstream media's intention to move the audience. Secondly, the conflict arises when mainstream media establishes a moral emotional tone of praise, gratitude, tribute, and compassion, conflicting with the audience's self-emotional regime. Within the audience's self-emotional regime, it may trigger a melancholic type of being moved, or even generate spiritual guilt, leading to skepticism towards society or the system.

In summary, through an exploration of the constituent emotions, predictive factors, and production and dissemination logic of "moving" content, this study reveals the potential of moving short videos to be construed as a form of "emotional governance" across political, cultural, and media domains. Through concerted efforts between the government and media, the narration of moving stories has become an important means of fostering national identity and collective consciousness. Both the government and mainstream media consciously utilize “feeling moved” to achieve this objective. These findings provide important insights into how emotions, particularly "feeling moved" are utilized by the government as a governance resource for reshaping cultural leadership and consolidating public support.